Hildegarde Staninger, Ph.D., RIET-1 is a world renowned industrial toxicologist, who is the author of the international bestseller, Comprehensive Handbook of Hazardous Materials: Regulations, Monitoring, Handling & Safety, Lewis Publishing/CRC Press. Among the leading international scientists in her field, she has done decades of research and was awarded the prestigious 7th Army and Greater Stuttgart Community Award for her work in preventing increased chronic obstructive pulmonary disease (COPD) during Operation Desert Shield from the Kuwati burning oil fields during Desert Storm. In 2006-07 she was principal investigator of a privately funded project to identify the composition of Morgellon's fibers. This original research revealed the environmental impacts upon man, environment and other life forms from exposure to nanotechnology, a work she continues to pursue.Rick Dubov's interest in art began as a teenager in the midst of a theatrical showbiz family. He received a BA in Art History from the University of California Irvine where he also received his Master's Degree in Fine Arts. His art has evolved over the years and has a heavy European influence, having lived in Milan and Paris, where he studied painting. He lives and works in Los Angeles.

Thomas Eakins (1844-1916) was one of America's foremost painters and a highly respected sculptor, photographer, and fine arts teacher. He is often celebrated for his realist depictions of contemporary life in late nineteenth-century Philadelphia. Yet, in addition to his iconic paintings of rowers, doctors, and wrestlers, he completed a number of works that reflected his deep and abiding interest in the historical past. "Thomas Eakins and the Uses of History" is the first book to examine the artist's lifelong fascination with historical themes. Akela Reason delves deeply into unpublished letters, diaries of friends and contemporaries, and period newspapers to offer new insights into this aspect of the artist's career.Probing the complex motivations behind his choice of historical subjects, Reason argues that Eakins used these images to express his most deeply held professional aspirations, most notably his self-conscious desire to measure himself against master artists of the distant past. The author begins with Eakins's first foray into historical painting at the time of Philadelphia's Centennial Fair of 1876, when he conceived "William Rush Carving His Allegorical Figure of the Schuylkill River." A careful analysis of his historical images reveals how Eakins's acute awareness of the historical tradition influenced his teaching and shaped his artistic career. Indeed, his insistent placement of the historical works in major exhibitions alongside his better-known realist paintings reveals his desire to carve out a place within this tradition. The artist not only considered these works important to his career; he sometimes suggested that they were among his best. Eakins's partiality for these historical images makes clear that he envisioned his artistic legacy in terms different from those by which modern art historians have typically defined his art.

Paintings by Pete Caswell form 2007 and 2008. The book includes colorful and vibrant paintings from India, India faces, Ocean and flowers series. Colorful images from Meherabad Pune and Meherazad in India. Over 80 pages of full colour images.

Bad Influence is a randomly issued print 'zine published by Ten Two Studios. Issues are created whenever time, participating artists, and interest allow. This issue of Bad Influence includes articles about cemetery photography, Victorian post-mortem photography, mourning dress in Victorian photography, The Woodmen's Circle Home, and spirit photography. It includes artwork and photography from Marian Savill, Diane Ferguson, Jennifer Minnis and Lisa Vollrath.

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

Towering billboards featuring photorealistic portraits of popular cinema stars and political leaders dominated the cityscape of Chennai, in the south Indian state of Tamil Nadu, throughout the second half of the twentieth century. Studying the manufacture and reception of these billboards known locally as banners and cutouts within the context of the entwined histories of the cinema industry and political parties in Tamil Nadu, Preminda Jacob reveals the broader significance of these fragments of visual culture beyond their immediate function as pretty pieces of advertising. Jacob analyzes the juxtaposition of cinematic and political imagery in the extra-cinematic terrain of Chennai's city streets and how this placement was pivotal to the elevation of regional celebrities to cult status. When interpreting these images and discussing their political and cultural resonance within the Tamil Nadu community, Jacob draws upon multiple perspectives to give appropriate context to this fascinating form of visual media."

This scarce antiquarian book is included in our special Legacy Reprint Series. In the interest of creating a more extensive selection of rare historical book reprints, we have chosen to reproduce this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's literature.

In 1585, the British painter and explorer John White created images of Carolina Algonquian Indians. These images were collected and engraved in 1590 by the Flemish publisher and printmaker Theodor de Bry and were reproduced widely, establishing the visual prototype of North American Indians for European and Euro-American readers.
In this innovative analysis, Michael Gaudio explains how popular engravings of Native American Indians defined the nature of Western civilization by producing an image of its "savage other." Going beyond the notion of the "savage" as an intellectual and ideological construct, Gaudio examines how the tools, materials, and techniques of copperplate engraving shaped Western responses to indigenous peoples. Engraving the Savage "demonstrates that the early visual critics of the engravings attempted-without complete success-to open a comfortable space between their own "civil" image-making practices and the "savage" practices of Native Americans-such as tattooing, bodily ornamentation, picture-writing, and idol worship. The real significance of these ethnographic engravings, he contends, lies in the traces they leave of a struggle to create meaning from the image of the American Indian.
The visual culture of engraving and what it shows, Gaudio reasons, is critical to grasping how America was first understood in the European imagination. His interpretations of de Bry's engravings describe a deeply ambivalent pictorial space in between" civil and savage-a space in which these two organizing concepts of Western culture are revealed in their making.
Michael Gaudio is assistant professor of art history at the University of Minnesota.

Knowings and Knots presents a range of interdisciplinary perspectives on the methodology of research-creation and asks how those who make knowledge think about and value it. Not just a method but a site of ongoing experimentation around what counts as knowledge, research-creation is a meeting place of academia, artistic creation, and the wider public. The contributors argue that academic institutions and funders must recognize research-creation as innovative knowledge-making that leaps over the traditional splitting of theory from practice while considering how gender/feminist studies, Indigenous practices, and new materialism might inform and develop the conversation. Through this book, readers can transform the way they experience both art and education. Contributors: Carolina Cambre, Owen Chapman, Paul Couillard, T.L. Cowan, John Cussans, Randy Lee Cutler, Petra Hroch, Rachelle Viader Knowles, Natalie Loveless, Glen Lowry, Erin Manning, Sourayan Mookerjea, Natasha Myers, Simon Pope, Stephanie Springgay, Sarah E. Truman

These pages provide a selection of pictorial material that shows the evolution which hunting, shooting, falconry, and fishing underwent from the fifteenth century (just previous to the invention of printing) to the French Revolution, thus taking in the four centuries that are as vital to the history of venery as they are to that of art. Some old pictures of horsemanship, and the first pictorial descriptions of mountain climbing have been included in the last chapters.

This book contains Volumes 1 and 2 of the original work. The Dance of Death is a subject so well known to have employed the talents of distinguished painters in the Ages of Superstition, that little is required to recall it to the recollection of the antiquary, the lover of the arts and the artist. The present object is merely to attract the public attention to the subject itself. Few remains are now visible of the original paintings which represented it, but they have been perpetuated by the more durable skill of the engraver. The myriad of illustrations are coupled with skillfully written poetry, all descriptive of the Dance of Death.

Intriguing pictorial archive of werewolves, serpents, mermaids, and other fabulous creatures, accompanied by an engrossing text with tales from around the world. Dramatic images of the sphinx, centaur, and the plumed serpent-bird of the Aztecs, as well as pictures of the whale, octopus, armadillo, and other real animals once associated with supernatural powers. 317 illustrations.

Since Theodor Adorno's attack on the writing of poetry "after Auschwitz," artists and theorists have faced the problem of reconciling the moral enormity of the Nazi genocide with the artist's search for creative freedom. In "Holocaust Representation, " Berel Lang addresses the relation between ethics and art in the context of contemporary discussions of the Holocaust. Are certain aesthetic means or genres "out of bounds" for the Holocaust? To what extent should artists be constrained by the "actuality" of history--and is the Holocaust unique in raising these problems of representation?

The dynamics between artistic form and content generally hold even more intensely, Lang argues, when art's subject has the moral weight of an event like the Holocaust. As authors reach beyond the standard conventions for more adequate means of representation, Holocaust writings frequently display a blurring of genres. The same impulse manifests itself in repeated claims of "historical" as well as artistic authenticity. Informing Lang's discussion are the recent conflicts about the truth-status of Benjamin Wilkomirski's "memoir" "Fragments" and the comic fantasy of Roberto Benigni's film "Life Is Beautiful." Lang views Holocaust representation as limited by a combination of ethical and historical constraints. As art that violates such constraints often lapses into sentimentality or melodrama, cliche or kitsch, this becomes all the more objectionable when its subject is moral enormity. At an extreme, all Holocaust representation must face the test of whether its referent would not be more authentically expressed by silence--that is, by the absence of representation.

The passage of time and the reality of an aging survivor population have made it increasingly urgent to document and give expression to testimony, experience, and memory of the Holocaust. At the same time, artists have struggled to find a language to describe and retell a legacy often considered "unimaginable." Contrary to those who insist that the Holocaust defies representation, Image and Remembrance demonstrates that artistic representations are central to the practice of remembrance and commemoration. Including essays on representations of the Holocaust in film, architecture, painting, photography, memorials, and monuments, this thought-provoking volume considers ways in which visual artists have given form to the experience of the Holocaust and addresses the role that imagination plays in shaping historical memory. Among works discussed are Daniel Libeskind s Jewish Museum in Berlin, Rachel Whiteread s Holocaust Memorial in Vienna, Morris Louis s series of paintings Charred Journal, photographer Shimon Attie s Writing on the Wall, and Mikael Levin s series Untitled. Image and Remembrance provides a thoughtful site for personal reflection and commemoration as well as a context for reconsidering the processes of art making and the cultural significance of artistic images.

Contributors:
Ernst van Alphen, Monica Bohm-Duchen, Tim Cole, Rebecca Comay, Mark Godfrey, Reesa Greenberg, Marianne Hirsch, Shelley Hornstein, Florence Jacobowitz, Berel Lang, Daniel Libeskind, Andrea Liss, Leslie Morris, Leo Spitzer, Susan Rubin Suleiman, Janet Wolff, Robin Wood, James Young, and Carol Zemel."

"Allen J. Christenson offers us in this wonderful book a testimony to contemporary Maya artistic creativity in the shadow of civil war, natural disaster, and rampant modernization. Trained in art history and thoroughly acquainted with the historical and modern ethnography of the Maya area, Christenson chronicles in this beautifully illustrated work the reconstruction of the central altarpiece of the Maya Church of Tz'utujil-speaking Santiago Atitla n, Guatemala. The much-loved colonial-era shrine collapsed after a series of destructive earthquakes in the twentieth century. Christenson's close friendship with the Cha vez brothers, the native Maya artists who reconstructed the shrine in close consultation with village elders, enables him to provide detailed exegesis of how this complex work of art translates into material form the theology and cosmology of the traditional Tz'utujil Maya.

"With the author's guidance, we are taught to see this remarkable work of art as the Maya Christian cosmogram that it is. Although it has the triptych form of a conventional Catholic altarpiece, its iconography reveals a profoundly Maya narrative, replete with sacred mountains and life-giving caves, with the whole articulated by a central axis mundi motif in the form of a sacred tree or maize plant (ambiguity intended) that is reminiscent of well-known ancient Maya ideas. Through Christenson's focused analysis of the iconography of this shrine, we are able to see and understand almost firsthand how the modern Maya people of Santiago Atitla n have remembered the imagined universe of their ancestors and placed upon this sacred framework their received truths in time present." -- Gary H. Gossen, Distinguished Professor Emeritus of Anthropology and Latin American Studies, University at Albany, SUNY

In the 1960s, the fascination with erotic art generated a wave of exhibitions and critical discussion on sexual freedom, visual pleasure, and the nude in contemporary art. Radical Eroticism examines the importance of women's contributions in fundamentally reconfiguring representations of sexuality across several areas of advanced art-performance, pop, postminimalism, and beyond. This study shows that erotic art made by women was integral to the profound changes that took place in American art during the sixties, from the crumbling of modernist aesthetics and the expanding field of art practice to the emergence of the feminist art movement. The works of Carolee Schneemann, Martha Edelheit, Marjorie Strider, Hannah Wilke, and Anita Steckel exemplify the innovative approaches to the erotic that explored female sexual subjectivities and destabilized assumptions about gender. Rachel Middleman reveals these artists' radical interventions in both aesthetic conventions and social norms.

There are a surprising number of stories from antiquity about people who fall in love with statues or paintings, and about lovers who use such visual representations as substitutes for an absent beloved. In a charmingly conversational, witty meditation on this literary theme, Maurizio Bettini moves into a wide-ranging consideration of the relationship between self and image, the nature of love in the ancient world, the role of representation in culture, and more. Drawing on historical events and cultural practices as well as literary works, "The Portrait of the Lover" is a lucid excursion into the anthropology of the image.
The majority of the stories and poems Bettini examines come from Greek and Roman classical antiquity, but he reaches as far as Petrarch, Da Ponte, and Poe. The stories themselves--ranging from the impassioned to the bizarre, and from the sublime to the hilarious--serve as touchstones for Bettini's evocative explorations of the role of representation in literature and in culture. Although he begins with a consideration of lovers' portraits, Bettini soon broadens his concerns to include the role of shadows, dreams, commemorative statues, statues brought to life, and vengeful statues--in short, an entire range of images that take on a life of their own.
The chapters shift skillfully from one theme to another, touching on the nature of desire, loss, memory, and death. Bettini brings to the discussion of these tales not only a broad learning about cultures but also a delighted sense of wonder and admiration for the evocative power and endless variety of the stories themselves.

For over three hundred years, the Virgin Mary of Guadalupe in her Mexican invocation has been celebrated in New Mexico. Our Lady of Guadalupe, the famous image of Mary in a body halo, has transcended the bounds of religion and institution to become an iconic folk symbol of the spirit that unifies and protects. This is a visual celebration of this powerful devotion and of the multi-faceted images that artists, folk artists, and everyday devotees create in the name of Nuestra Senora.

In this second volume of his classic essays on the Renaissance, E H Gombrich focuses on a theme of central importance: visual symbolism. He opens with a searching introduction ('The Aims and Limits of Iconology'), and follows with detailed studies of Botticelli, Mantegna, Raphael, Poussin and others. The volume concludes with an extended study of the philosophies of symbolism, demonstrating that the ideas which preoccupied the philosophers of the Renaissance are still very much alive today. Like its predecessor, Norm and Form, this volume is indispensable for all students of Renaissance art and thought as a work that has itself helped to shape the evolving discipline of art history. Reflecting the author's abiding concern with standards, values and problems of method, it also has a wider interest as an introduction to the fundamental questions involved in the interpretation of images.

Herein is found the world's most illuminating penetration into every aspect of the inner, mystical, meaning behind ancient art forms and mythology. Over 75 chapters! If you have ever wondered what spiritual wisdom was purposely hidden in myth and art, this book will completely satisfy your unquenchable thirst for this knowledge. The ancient mystics understood the cosmic forces of the universe and recorded it in myth and art. This book reveals that knowledge. Extremely important! It's all here! With 348 illustrations. Scarce!

Was it a trick of the light that drew our Stone Age ancestors into caves to paint in charcoal and red hematite, to watch the heads of lions, likenesses of bison, horses, and aurochs in the reliefs of the walls, as they flickered by firelight? Or was it something deeper--a creative impulse, a spiritual dawn, a shamanistic conception of the world efflorescing in the dark, dank spaces beneath the surface of the earth where the spirits were literally at hand? In this book, Jean Clottes, one of the most renowned figures in the study of cave paintings, pursues an answer to this "why" of Paleolithic art. While other books focus on particular sites and surveys, Clottes's work is a contemplative journey across the world, a personal reflection on how we have viewed these paintings in the past, what we learn from looking at them across geographies, and what these paintings may have meant--what function they may have served--for their artists. Steeped in Clottes's shamanistic theories of cave painting, What Is Paleolithic Art? travels from well-known Ice Age sites like Chauvet, Altamira, and Lascaux to visits with contemporary aboriginal artists, evoking a continuum between the cave paintings of our prehistoric past and the living rock art of today. Clottes's work lifts us from the darkness of our Paleolithic origins to reveal, by firelight, how we think, why we create, why we believe, and who we are.